JOHN GIBSON	171
of the first principles of his art. The uncultivated
cannot comprehend all the difficulties which
attend a composition of this character—such is the
result of the imperfect acquaintance with this
intricate sort of composition. My observations
apply only to sculpture and not to painting.
The next group we admire is that of a woman
conversing with a youth younger than herself; the
female has her hair cut short, which is a sign of
mourning—on that account they say that it repre-
sents Electra and Orestes ; the drapery is very
good and the form of the youth is in fine style.
People admire the statue of a young man sitting,
grasping his bent knee and sword with both hands.
It is supposed to represent Mars, Cupid is crouched
at his foot; the sculpture is fine and the countenance
noble and beautiful.
The colossal head of Juno in Greek marble is
highly admired for its divine beauty—the nose has
never been injured, which is rare in an antique
statue. This splendid work of Greek art is a most
valuable study. There are in this valuable collection
other statues of great interest and value. There is
also a modern group, life-size, representing Pluto
carrying off Proserpine; it is the work of the
Cavalier Bernini, To see this group, which is a
good specimen of the master, by the side of the
pure Greek statues is valuable to the artist; it is
like seeing Vice and Virtue in juxtaposition.